Adrián Navarro’s artistic practice primarily deals with the material and immaterial qualities of space —he is concerned with formal aspects but also with notions like the ethereal and the affective.

His Fugas paintings are above all spatial arrangements, beautifully crafted optical illusions that depict what seems to be virtual spaces, artificial alter-realities that expand and multiply well beyond the limits of the canvas.

Fuga #4, 2017. Oil on canvas. 153x122 cm

Fuga #2, 2017. Oil on canvas. 210x130 cm
Adrian Navarro’s artistic practice, however, cannot be fully grasped without making reference to his training as an architect. Similarly to what architects do, Adrián projects spacial configurations —if not to be physically inhabited, his paintings should rather be acknowledged as carefully constructed abstract landscapes meant to be experienced remotely. It is in fact through this experience that is only possible to perceive an underlying tension that pervades all his production —the coexistence of a certain sense of weightlessness, markedly present in his series Spheres and Rings, and a feeling of convulsion that primarily stems from his brushstrokes, specially those confined within the figures.

Fuga #10, 2018. Oil on paper. 80x60 cm

When Adrián Navarro speaks about his practice he makes reference to an opposition, a struggle, between the realms of the real and the virtual. Are his paintings a comment on the increased overlapping and the convulse merging between the two realms?
Tellingly, Adrián deploys architecture-based digital tools such as Autocad as part of his creative process; through this program the artist creates highly detailed digital figures and spatial arrangements that only later he transfers to the canvas in this way initiating a process in which the materiality of painting takes over the stable and aseptic digital environment.

Fuga #5, 2017. Oil on canvas. 150x150 cm